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Difference between revisions of "Pseudo-Peter von Danzig"

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| '''<span style="color:#A40000">All here rise upon the gloss and the explanation of the Epitome of the Long Sword</span>'''
+
| '''<span style="color:#A40000">Here begins the gloss and the explanation of the Epitome of the Long Sword</span>'''
 
This has been composed and created by Johannes Liechtenauer, the one High Master in the Art, may God be gracious to him, so that princes and lords and knights and soldiers shall know and learn that which pertains to the Art. Therefore he has allowed the Epitome to be written with secret and suspicious words, so that not every man shall undertake and understand them. And he has done that so the Epitome’s Art will little concern the reckless Fencing-Masters, so that from the same Masters his Art is not openly presented or shall become common. And the same secret and suspicious words of the Epitome that stand hereafter, the glosses teach and explain thus, so that everyone that otherwise can fence may well undertake and understand them.
 
This has been composed and created by Johannes Liechtenauer, the one High Master in the Art, may God be gracious to him, so that princes and lords and knights and soldiers shall know and learn that which pertains to the Art. Therefore he has allowed the Epitome to be written with secret and suspicious words, so that not every man shall undertake and understand them. And he has done that so the Epitome’s Art will little concern the reckless Fencing-Masters, so that from the same Masters his Art is not openly presented or shall become common. And the same secret and suspicious words of the Epitome that stand hereafter, the glosses teach and explain thus, so that everyone that otherwise can fence may well undertake and understand them.
 
| '''[9v] <span style="color:#A40000">Alhÿe hebt sich an die Glos vnd die auslegu~g der zedel des langen swertz</span>'''
 
| '''[9v] <span style="color:#A40000">Alhÿe hebt sich an die Glos vnd die auslegu~g der zedel des langen swertz</span>'''
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And left with right<br/>
 
And left with right<br/>
 
Is how you most strongly fence.</span><br/>
 
Is how you most strongly fence.</span><br/>
Gloss: Mark, that is the first art of the Long Sword, that you shall learn the hews correctly before all things, so that you will otherwise fence strongly, and undertake that thus: When you stand with the left foot before and hew before your right side, and you do not then follow after the hew with a step forward of your right foot, then the hew is false and incorrect. When your right side remains behind, the hew then becomes too short. And also do not go with the right to the other side before the left under you.  
+
Gloss: Mark, that is the first art of the Long Sword, that you shall learn the hews correctly before all things, so that you will otherwise fence strongly, and undertake that thus: When you stand with the left foot before and hew before your right side, and you do not then follow after the hew with a step forward of your right foot, then the hew is false and incorrect. When your right side remains behind thereby the hew becomes too short and may not have its correct path downwards to the other side before the left foot.  
 
| '''<span style="color:#A40000">Das ist ein gemaine ler des langen swertz das In vil guter kunst begriffen ist</span>'''<br/>'''<span style="color:#A40000">Text</span>'''
 
| '''<span style="color:#A40000">Das ist ein gemaine ler des langen swertz das In vil guter kunst begriffen ist</span>'''<br/>'''<span style="color:#A40000">Text</span>'''
 
<span style="color:#A40000">wiltu kunst schauen<br/>
 
<span style="color:#A40000">wiltu kunst schauen<br/>
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| Likewise, if you are left-handed, then hew also the first hew not from the right side when he is a left-hander, since it is then unruly to drive Art from the right side, as it is also for a right-hander from the left side.
+
| Likewise, if you are left-handed, then hew also the first hew not from the right side, since it is quite perilous for a left-hander to practice Art from the right side, the same as it is also for a right-hander from the left side.
 
| Des geleichen pistu linck So haw auch den ersten haw nicht von der rechten seitten wenn es ist einem lincken gar wild ku~st zu° treiben von der rechten seitten Des geleichen ist auch einem rechten von der lincken seitten <span style="color:#A40000">~</span>
 
| Des geleichen pistu linck So haw auch den ersten haw nicht von der rechten seitten wenn es ist einem lincken gar wild ku~st zu° treiben von der rechten seitten Des geleichen ist auch einem rechten von der lincken seitten <span style="color:#A40000">~</span>
 
| Desgleichen pistu linck so haw auch den ersten hawe nicht von der rechten seitten Sunder hawe von der lincken seitten wann es ist einem rechte~ gar wilde vnd wider zäm ku~st zetreiben von der lincken seitten Desgleichen ist auch eine~ lincken von der rechten seitten etc.
 
| Desgleichen pistu linck so haw auch den ersten hawe nicht von der rechten seitten Sunder hawe von der lincken seitten wann es ist einem rechte~ gar wilde vnd wider zäm ku~st zetreiben von der lincken seitten Desgleichen ist auch eine~ lincken von der rechten seitten etc.
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|-  
 
| rowspan=2 | [[File:MS Germ.Quart.2020 11v.jpg|250px|center]]
 
| rowspan=2 | [[File:MS Germ.Quart.2020 11v.jpg|250px|center]]
| '''<span style="color:#A40000">Mark. Here you rise upon the text and the gloss.</span>'''
+
| '''<span style="color:#A40000">Mark. Here begins the text and the gloss.</span>'''
 
<br/>The first of the Wrath-hew with its techniques:
 
<br/>The first of the Wrath-hew with its techniques:
  
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| rowspan=3 |  
 
| rowspan=3 |  
| '''<span style="color:#A40000">Here you rise upon the text and the gloss of the Thwart Hew with its techniques:</span>'''
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| '''<span style="color:#A40000">Here begins the text and the gloss of the Thwart Hew with its techniques:</span>'''
 
<span style="color:#A40000">Thwart takes<br/>
 
<span style="color:#A40000">Thwart takes<br/>
 
What comes From the Roof.</span>
 
What comes From the Roof.</span>
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|-  
 
|-  
 
| rowspan=2 | [[File:MS Germ.Quart.2020 33v.jpg|250px|center]]
 
| rowspan=2 | [[File:MS Germ.Quart.2020 33v.jpg|250px|center]]
| '''<span style="color:#A40000">Here you rise upon the Squint-hew with its techniques:</span>'''<br/>
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| '''<span style="color:#A40000">Here begins the Squint-hew with its techniques:</span>'''<br/>
 
<br/><span style="color:#A40000">Squinter in breaks<br/>
 
<br/><span style="color:#A40000">Squinter in breaks<br/>
 
What the Buffalo strikes or stabs.<br/>
 
What the Buffalo strikes or stabs.<br/>
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| rowspan=5 | [[File:MS Germ.Quart.2020 38v.jpg|250px|center]]
 
| rowspan=5 | [[File:MS Germ.Quart.2020 38v.jpg|250px|center]]
| '''<span style="color:#A40000">Here you rise upon the text and the gloss of the Scalp-Hew:'''
+
| '''<span style="color:#A40000">Here begins the text and the gloss of the Scalp-Hew:'''
 
<span style="color:#A40000">The Scalper<br/>
 
<span style="color:#A40000">The Scalper<br/>
 
Is dangerous to the face.<br/>
 
Is dangerous to the face.<br/>

Revision as of 20:28, 7 November 2013

Gloss and Interpretation of
the Record of the Long Sword
die gloss und die auslegung der zettel des langen schwert
Author(s) Unknown
Ascribed to Pseudo-Peter von Danzig
Illustrated by Unknown
Date before 1452
Genre
Language Early New High German
Archetype(s) Hypothetical
Manuscript(s)
First Printed
English Edition
Tobler, 2010
Concordance by Michael Chidester
Translations

"Pseudo-Peter von Danzig" is the name given to an anonymous late 14th or early 15th century German fencing master.[1] Some time before the creation of the Codex 44.A.8 in 1452, he authored a gloss of Johannes Liechtenauer's record which would go on to become the most widespread in the tradition. While his identity remains unknown, it is possible that he was in fact Jud Lew or Sigmund Schining ein Ringeck, both of whose glosses show strong similarities to the work. On the other hand, the introduction to the Rome version of the text—the oldest currently extant—might be construed as attributing it to Liechtenauer himself.

Early on in its history, this text seems to have split into two primary branches. The first branch, found in the Rome (1452), Krakow (1510-20), and Augsburg (1564) versions, has slightly longer descriptions and is always accompanied by illustrations. The second branch, appearing first in the Augsburg (1450s) and used in all extant versions except the three listed above, has shorter descriptions but a number of additional devices (some of which seem to be drawn directly from Ringeck's gloss).

Treatise

In order to achieve a greater degree of organization and readability, Liechtenauer's verse has been separated into its proper couplets in this presentation. The verse is laid out this way in the Salzburg version, but in most of the other manuscripts it is included inline.

Additional Resources

References

  1. This name stems from the false assumption of many 20th century writers identifying him with Peter von Danzig zum Ingolstadt.